Opera Reviews
28 March 2024
Untitled Document

A compelling Turandot at Torre del Lago



by Silvia Luraghi
Puccini: Turandot
Festival Puccini
13 July 2013

After opening night, the Puccini Festival continued with a revival of Turandot directed by Maurizio Scaparro, already seen in previous seasons at Torre del Lago, with the imposing sets designed by Ezio Frigerio and the beautiful oriental costumes by Franca Squarciapino. The beauty of the landscape, with the lake and a moon crescent right above the stage, provided the perfect atmosphere for Puccini's unfinished masterpiece.

The Chinese imperial palace provided the background for the action; on its top level, Turandot appeared for the first time, far aloft in a shining gown, and ignited the desire of Calaf. Earlier at the beginning of the first act, Calaf had encountered Lił guiding his father in the square in front of the palace, and had learned of her desperate love for him. In the same square, Ping Pang and Pong expressed their skeptical views on Calaf's prospective deed.

In the second act, the emperor of China was brought out of his palace, and listened to Calaf's request to solve Turandot's riddles sitting on his high throne, the same from which he watched his daughter come out of the Palace, and suffer her defeat.

For this production, the Festival was able to secure some of the top interpreters for their roles, as well as Maestro Daniel Oren, a veteran of this score and a great expert of open air performances.

Turandot is a signature role for Giovanna Casolla, having sung it about 500 times. After so many performances in this and other spinto roles, her top notes remain firm enough, and her temperamental performance gives a compelling interpretation of the ruthless princess. Slightly less compelling is her transformation in the third act, in which one remains unconvinced of her new, loving attitude toward Calaf, and one wonders why he does not choose Lił.

The humble and courageous servant was interpreted by Elena Mosuc, whose interpretation was superb from the very beginning. Her light, beautifully colored soprano expressed her selfless and profound love for the man who once smiled at her, with breathtaking piani and well sustained long breaths.

The obstinate prince Calaf was tenor Marcello Giordani, whose ringing, sizable voice presented the audience with very good renditions of some of Puccini's most popular arias, with 'Nessun dorma' to start with.

The side roles were also very well covered, both vocally and theatrically, with Giovanni Guagliardo, Nicola Pamio, and Francesco Pittari as Ping, Pang and Pong, and bass Carlo Striuli as Timur.

As with the singing, the orchestral side was also compelling, and the audience paid a tribute of applause to everyone.

Text © Silvia Luraghi
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